Friedrich Nietzsche Fragments
Introduction
The birth of tragedy.
For Nietzsche, what he wants to express to us as the main idea in section 1 is that the principle generatedFor him it is equally important to the Apollonian and the Dionysian that the existence of both sexes produced periodically. As from the Apollonian and of the Dionysiac, art is born, from the reproduction of both sexes people are born and that is where both creations start as the first principle. Apollo gives sculptoric art, while Dionisio brings music and as a union of both of them is. Between them there is a contradiction and duplicity is the story of its union, of the encounter between them, it is from here where the attic tragedy is born. In general, it is clear that for Nietzsche art is the stimulating of life, which motivates us to see that cruel and horrifying reality in a more beautiful and less cruel way.
In section 7, Nietzsche means us is that for him the choir is the origin of the tragedy. That within all the representations given in the choir there is a reality with which you feel identified. What he tells us is that the interpretations that occur in the choir what they do is affirm a reality.
Developing
Art converts all horrifying thoughts into something bearable, with something that can be lived, that is, without art everything would be ugly and boring. In section 12, Euripides arrives, which raises the tragedy without the Dionysian. This had been inherited, so to speak, of Socrates, it is from here where the Dionysian and the Socratic. But, although Euripides arrives, Nietzsche says: the most magnificent temple lies in ruins. This phrase means that, even if authors or philosophers come to create a new art, the starting point of the birth of art will always be the same, the Dionysian and the Apollonian.
However, for the Socratic the beautiful has to be intelligible, understood. In section 24 it means that art is a way of bringing cruel reality. Without art, this reality would be very tragic, but for that is art, to supplement that reality. Nietzsche questions if the hero must surrender to his own annihilation due to pain, to suffering so that anyone who sees him feels a superior superior pleasure. But this is not how it really happens in life, just as the tragedy teaches us the sufferings that the hero passes to give us an example of how to correctly work before the certain circumstances. The tragedy has to be seen from the inside, that is, from its foundation. Tragedy does not come from life, but is a metaphysical substitute. The ugly and horrible is like a beautiful, aesthetic game, which is from where life is justified.
self-criticism
- This section questions why the Greeks had the need for art if it was the ones who created it, those who gave birth to a perfect and evocative art. That is why Nietzsche begins to question a set of questions about this need, what is for them the birth of tragedy? If this is based on them? It raises socratism as the decline, as the point from where everything collapsed, so to speak. Consider that all this is a deception by Socrates for the Greeks and the birth of the tragedy.
- It is in this section that it is clear that this is his adult philosophy and that all of the above was Nietzsche as a young man, 16 years oldis recognized in his previous philosophy.
- In this section it relates the pain of the Greeks with the Dionysian. Relates that everything good is born. The beautiful becomes for the Greeks at parties, pleasure, etc., But if the tragedy supposedly comes from here, from the Greeks, where does it come from then? That is, the ugly would be born of having good health, of feeling great pleasure. The Greeks realize that not everything is beautiful, there is also a desire for the ugly, of the horrible. That is why it raises the meaning of morality.
The Wagner case
Start with the prologue in which it makes it clear that it has broken its relationship with Wagner. Having grown Nietzsche, he has changed his way of thinking, which is why he defines his relationship as self-suffering, that is, he has developed for himself to become better, he has fought, for also, against himself to be able to overcome himself. He describes Wagner as his diseases, since it was he who did not let him be himself, so he had to heal, that is, get rid of him, break his relationship to be able to move forward and be himself. In order to know modernity we must meet Wagner, Wagnerianism, no matter how much a philosopher does not want to dispense with him. Considers Wagner a patient and, therefore, his art is also. Define that its disease is neurosis, which is a set of diseases in which Nietzsche says, instability, in addition to nerve disorders. The young Nietzsche idolized Wagner;The current one considers it a patient.
Nietzsche does not define Wagner as a musician, but rather as a splendid theater actor. Consider his music as the worst and uses his name as an insult to music, that is, all that music that is bad for Nietzsche is considered as Wagnerian music.
Nietzsche fears that art becomes everything that is not and that is its greatest concern, art.
conclusion
According to Nietzsche, Wagner is the destroyer of all Western art. On the contrary, Wagner defends his art, even convinces others, that is why Nietzsche clutks him as a seducer. Nihilism praises while disguising it as music, but at the same time it is contradicted since religion also praises. This makes sense since nihilism the first thing it does is deny the belief of all religious, political and social, that is, it denies the existence of a moral. Nietzsche believes that Wagner has taken advantage of those most sublime, easier to handle, to make them believe that their art is the best of all time, it persuades them.
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